4. This lecture will outline the principles and
methods employed in the design process, that
can help you, the student, find an appropriate
and creative solution to, virtually, any design
problem you may encounter.
5. Designers are often thought of as artists.
Sometimes they are.
Design, however, is only indirectly related
to art. As stated in the previous lecture,
design is a problem solving process: a
series of steps leading to a desired goal.
6. The design process, then, is essentially,
a means of seeking, and ultimately
discovering answers to posed questions.
7. With slight variations among individuals,
designing or problem-solving for the
theatre consists of eight (8) distinct
phases:
10. Even though it may seem rather formulaic,the
design process, unfortunately, isn't always a
simple, linear progression.
Always go back to review previous steps made.
12. Sometimes new issues pop up that might
distract you from solving the original problem.
Be careful not to start solving a different
problem because it seems to be more “fun”.
By reviewing the design process and it’s
progress, keeps you, the designer, in touch
with the problem.
17. A design problem or “challenge”, is typically
stated in terms of need. A statement of need,
however, does not always require a design
solution
“I need something to drink” -probably requires
no design solution.
“I need something exotic to drink” - may require
a design solution.
18. REFLECTION (Analysis):
The reflection step in the design process has
three objectives:
1. To reflect on the challenge and
question all of its ramifications.(make
a list of questions).
2. To gather information that will help
clarify and better define the
challenge you are facing.
3. To identify areas that will require
research.
19. In a theatrical production, analysis is,
basically the question: “What have I
gotten myself into?”
20. Inquiry is the key to creativity. Your drive to
create is largely based on 2 factors
1. On your perceived need to see or
effect change.
2. On your desire to present a unique
point of view or product into the
world.
21. SATURATION (Research):
To answer the questions raised in analysis, it
will be necessary to immerse oneself into
research. You will be doing both background
research, applied research, and conceptual
research,.
22. Background Research: (External and
internal
research)
This type of research explores issues,
dealing with possible historic, social,
political, economic, religious etc.implications,
relative to the challenge, that may have been
raised through analysis. This type of
background research is often termed –
“external”.
23. Background Research: (External and
internal research)
“Internal research”, on the other hand, is a
term, in theatre, that is synonymous with
script analysis.
24. Background research, typically, involves
tapping libraries. bookstores, the Internet
and a multitude of other sources that may
contain relevant literary and graphic
material
25. Applied Research:
Research may also be necessary for the
designer in various applied areas. This
means learning to perform specialized
skills necessary to solve the problem.
This may involve taking classes, watching
tapes, reading how-to books, manuals,
etc.
26. Conceptual Research:
Conceptual research involves the
examination of your own mental resources
to solve compositional issues inherent in the
challenge.
The resources you are tapping here, are
your own imaginative and organizational
abilities.
28. INCUBATION and INSIGHT:
During this time, all the research information
you have gathered, can sort itself out in terms
of value, priority, and preference. It is also a
time when your ideas begin to mesh.
29. A solution to your design problem, or a
portion of it, may actually come to you, by
way of insight – this is sometimes called
“the Aha! moment”.
30. SYNTHESIS (Selection - Assembly):
Synthesis is the step in the design process,
during which you sort through all of the data
you've gathered, and decide on a specific
course of action.
During synthesis decisions must be made, ideas
must come together, and they must be
graphically represented.
31. The synthesis phase of design will usually
take some time, because it is also the
assembly and development stage, when
many issues are dealt with in detail.
33. REFINEMENT (Improvement):
The refinement step of the design process
often occurs concurrently with
implementation. New, input from others
may raise additional questions relative to
the challenge or problem, so, the final
product, may have to slightly change.
34. VERIFICATION (Final evaluation):
While evaluation needs to take place at
each step of the design process, to make
sure that the design product is effectively
moving forward, verification is the final
phase,and the final review of the design
process.
35. The designer must ask of himself or herself the
following questions?
1. Has the product or challenge been fully
met? If not why not?
2. In what ways could the design process
have served the product or challenge
better?
3. If the challenge was, itself, a component
of a larger problem or challenge, how
well did it fit in the larger scheme?
Notes de l'éditeur
Even though rather formulaic, the design process, unfortunately, isn't a simple, linear progression.
Going from one step to another, the designer will do well, to refer back to previous steps made, to insure that he/she is still headed in the direction of the identified goal (solution).
Sometimes new issues pop up that might distract you from solving the original problem.
Be careful not to start solving a different problem because it seems to be more “fun”.
*By reviewing the design process and it’s progress, keeps you, the designer, in touch with the problem.
Also, by reviewing the process you will become open to new ideas that may have emerged through random discussion and research.
COMMITTMENT:
To pave the way to a successful process, you must, before all, commit yourself to finding a solution to a problem.
You’ve got to want to do it.
*If you commit your energies, wholeheartedly, to a design project, you are vowing to yourself and others, that you will do the best work you can possibly do.
This means:
* If you accept a role in a play: you will do your best to design your character.
* If you accept the task of stage managing a production: you will do your best to design the
efficient flow of rehearsals and performances.
* If you accept the position of properties master: you will do your best to design and provide useful, appropriate and stage worthy properties.
PROBLEM (meeting the need):
Because the word “problem”* has a somewhat negative connotation, the word “challenge”, is often used in its place.
*I must point out, that “ a problem” may pose a number of challenges, so the two words are not exactly synonymous.
Most people enjoy a good challenge. The word itself hints at fun, games, and competition.
* When a problem is thought of in terms of challenge, it, automatically, becomes more compelling, interesting, and manageable.
* If it makes you feel better, feel free to substitute it in place of “problem”.
In the theatre a scene designer, forex is typically committed to design a production prior to reading the script. In other words the need is implicit. Reading the script the first time, for enjoyment, is part of “discovering” the nature of the problem.
* The designer should always carry a notebook, to jot down questions that may arise, perhaps draw a sketch, or form an outline.
Inquiry is the key to creativity. Your drive to create is largely based, on two factors:
1. Your perceived need to see or effect change. (If you are complaisant or satisfied with everything in your world, more than likely, you see little need to change, improve, or create anything. )
2. On your desire to present a unique point of view or product into the world.
* To analyze anything effectively, it is necessary to abandon fear: fear of making mistakes, fear of criticism, fear of seeming stupid, being a nerd. a dweeb or just, somehow, different. Fear inhibits clear, creative thought and inquiry.
* Once you have come to grips with the problem, and all of its ramifications, you will soon discover, that your personal background and experience are limited or vague in certain areas. Jot these gaps down, in your notebook, as areas in which research is necessary.
To answer the questions raised in analysis, it will be necessary to immerse oneself into research. You will be doing both background research, applied research, and conceptual research.
* Background research should also reveal if there have been previous attempts to solving the problem, and the possible dangers of consciously or subconsciously “ripping off” the work of another designer.
Similarities in design products are often unavoidable, It is useful, however, to review previous designs, if only to avoid embarrassing “coincidences.”
Theft and copyright infringement are neither creative,nor original, they are, however, highly unethical and punishable by law.
Applied Research:
Research may also be necessary for the designer in various applied areas. This means learning to perform specialized skills necessary to solve the problem. This may involve taking classes, watching tapes, reading how-to books, manuals, etc.
* In many visual and performing arts it is necessary for designers to have specialized skills such as: painting, welding, juggling, fencing, woodworking, dancing, etc. Learning the skills necessary to execute the design is applied research.
* The term incubation can be somewhat misleading. It conjures up images of cloistering or seclusion, a time of concentrated and intense thought.
Actually, Incubation is a hatching period for the subconscious mind.
During this time, all the research information you have gathered, can sort itself out in terms of value, priority, and preference.It is also a time when your ideas begin to mesh.
* Try not to think about the project. Be sure to give yourself enough time to, let your subconscious mind, mull over the data that you have absorbed.
A solution to your design problem, or a portion of it, may actually come to you, by way of insight – this is sometimes called “the Aha! moment”.
* Regardless of how uncanny your abilities to “work under pressure” might be, creativity does not typically “kick in” at the 11th hour. Creativity requires a period of incubation, or mental digestion. Start your design process for this class early! There is not be much gestation time available.
Synthesis is the step in the design process, during which you sort through all of the data you've gathered, and decide on a specific course of action.
* Regardless of how inspiring on un-inspiring your research has been, during synthesis decisions must be made, ideas must congeal (come together), and they must be graphically or visually represented.
The synthesis phase of design will usually take some time, because it is also the assembly and development stage, when many issues are dealt with in detail.
* For the most part, the synthesis phase of the design process is over, when the designer is satisfied that all questions relative to the problem have been adequately addressed.
The refinement step of the design process often occurs concurrently with implementation. New, outside, input may raise additional questions relative to the challenge or problem, and thus, the final product, might have to slightly change.
Many and incessant changes or re-designs are, generally, highly discouraged, because they have a negative impact on the schedule and budget.
While evaluation needs to take place at each step of the design process, to make sure that the design product is effectively moving forward, verification is the final phase,and the final review of the design process.
* Verification begins with self-examination on the part of the designer.
